O let us not, like snarling tykes,
In wrangling be divided;
Till slap come in an unco loon
And wi' a rung decide it.
In wrangling be divided;
Till slap come in an unco loon
And wi' a rung decide it.
Robert Forst
and ne'er such sorrows tear
That fickle heart of thine, my Katy!
Thou may'st find those will love thee dear--
But not a love like mine, my Katy!
Canst thou leave me thus, my Katy?
Canst thou leave me thus, my Katy?
Well thou know'st my aching heart--
And canst thou leave me thus for pity?
* * * * *
CCXXXVIII.
MY NANNIE'S AWA.
Tune--"_There'll never be peace. _"
[Clarinda, tradition avers, was the inspirer of this song, which the
poet composed in December, 1794, for the work of Thomson. His thoughts
were often in Edinburgh: on festive occasions, when, as Campbell
beautifully says, "The wine-cup shines in light," he seldom forgot to
toast Mrs. Mac. ]
I.
Now in her green mantle blythe nature arrays,
And listens the lambkins that bleat o'er the braes,
While birds warble welcome in ilka green shaw;
But to me it's delightless--my Nannie's awa!
II.
The snaw-drap and primrose our woodlands adorn,
And violets bathe in the weet o' the morn;
They pain my sad bosom, sae sweetly they blaw,
They mind me o' Nannie--and Nanny's awa!
III.
Thou lav'rock that springs frae the dews of the lawn,
The shepherd to warn o' the gray-breaking dawn,
And thou mellow mavis that hails the night fa',
Give over for pity--my Nannie's awa!
IV.
Come autumn sae pensive, in yellow and gray,
And soothe me with tidings o' nature's decay:
The dark dreary winter, and wild driving snaw,
Alane can delight me--now Nannie's awa!
* * * * *
CCXXXIX.
O WHA IS SHE THAT LOVES ME.
Tune--"_Morag. _"
["This song," says Sir Harris Nicolas, "is said, in Thomson's
collection, to have been written for that work by Burns: but it is not
included in Mr. Cunningham's edition. " If sir Harris would be so good
as to look at page 245; vol. V. , of Cunningham's edition of Burns, he
will find the song; and if he will look at page 28, and page 193 of
vol. III. , of his own edition, he will find that he has not committed
the error of which he accuses his fellow-editor, for he has inserted
the same song twice. The same may be said of the song to Chloris,
which Sir Harris has printed at page 312, vol. II,. and at page 189,
vol. III. , and of "Ae day a braw wooer came down the lang glen," which
appears both at page 224 of vol. II. , and at page 183 of vol, III. ]
I.
O wha is she that lo'es me,
And has my heart a-keeping?
O sweet is she that lo'es me,
As dews of simmer weeping,
In tears the rosebuds steeping!
O that's the lassie of my heart,
My lassie ever dearer;
O that's the queen of womankind,
And ne'er a ane to peer her.
II.
If thou shalt meet a lassie
In grace and beauty charming,
That e'en thy chosen lassie,
Erewhile thy breast sae warming
Had ne'er sic powers alarming.
III.
If thou hadst heard her talking,
And thy attentions plighted,
That ilka body talking,
But her by thee is slighted,
And thou art all delighted.
IV.
If thou hast met this fair one;
When frae her thou hast parted,
If every other fair one,
But her, thou hast deserted,
And thou art broken-hearted;
O that's the lassie o' my heart,
My lassie ever dearer;
O that's the queen o' womankind,
And ne'er a ane to peer her.
* * * * *
CCXL.
CALEDONIA.
Tune--"_Caledonian Hunt's Delight. _"
[There is both knowledge of history and elegance of allegory in this
singular lyric: it was first printed by Currie. ]
I.
There was once a day--but old Time then was young--
That brave Caledonia, the chief of her line,
From some of your northern deities sprung,
(Who knows not that brave Caledonia's divine? )
From Tweed to the Orcades was her domain,
To hunt, or to pasture, or do what she would:
Her heav'nly relations there fixed her reign,
And pledg'd her their godheads to warrant it good.
II.
A lambkin in peace, but a lion in war,
The pride of her kindred the heroine grew;
Her grandsire, old Odin, triumphantly swore
"Whoe'er shall provoke thee, th' encounter shall rue! "
With tillage or pasture at times she would sport,
To feed her fair flocks by her green rustling corn;
But chiefly the woods were her fav'rite resort,
Her darling amusement, the hounds and the horn.
III.
Long quiet she reign'd; till thitherward steers
A flight of bold eagles from Adria's strand:
Repeated, successive, for many long years,
They darken'd the air, and they plunder'd the land:
Their pounces were murder, and terror their cry,
They'd conquer'd and ruin'd a world beside;
She took to her hills, and her arrows let fly--
The daring invaders they fled or they died.
IV.
The fell harpy-raven took wing from the north,
The scourge of the seas, and the dread of the shore;
The wild Scandinavian boar issu'd forth
To wanton in carnage, and wallow in gore;
O'er countries and kingdoms their fury prevail'd,
No arts could appease them, no arms could repel;
But brave Caledonia in vain they assail'd,
As Largs well can witness, and Loncartie tell.
V.
The Cameleon-savage disturbed her repose,
With tumult, disquiet, rebellion, and strife;
Provok'd beyond bearing, at last she arose,
And robb'd him at once of his hope and his life:
The Anglian lion, the terror of France,
Oft prowling, ensanguin'd the Tweed's silver flood:
But, taught by the bright Caledonian lance,
He learned to fear in his own native wood.
VI.
Thus bold, independent, unconquer'd, and free,
Her bright course of glory for ever shall run:
For brave Caledonia immortal must be;
I'll prove it from Euclid as clear as the sun:
Rectangle-triangle, the figure we'll choose,
The upright is Chance, and old Time is the base;
But brave Caledonia's the hypothenuse;
Then ergo, she'll match them, and match them always.
* * * * *
CCXLI.
O LAY THY LOOF IN MINE, LASS.
Tune--"_Cordwainer's March. _"
[The air to which these verses were written, is commonly played at the
Saturnalia of the shoemakers on King Crispin's day. Burns sent it to
the Museum. ]
I.
O lay thy loof in mine, lass,
In mine, lass, in mine, lass;
And swear on thy white hand, lass,
That thou wilt be my ain.
A slave to love's unbounded sway,
He aft has wrought me meikle wae;
But now he is my deadly fae,
Unless thou be my ain.
II.
There's monie a lass has broke my rest,
That for a blink I hae lo'ed best;
But thou art queen within my breast,
For ever to remain.
O lay thy loof in mine, lass,
In mine, lass, in mine, lass;
And swear on thy white hand, lass,
That thou wilt be my ain.
* * * * *
CCXLII.
THE FETE CHAMPETRE.
Tune--"_Killiecrankie. _"
[Written to introduce the name of Cunninghame, of Enterkin, to the
public. Tents were erected on the banks of Ayr, decorated with shrubs,
and strewn with flowers, most of the names of note in the district
were invited, and a splendid entertainment took place; but no
dissolution of parliament followed as was expected, and the Lord of
Enterkin, who was desirous of a seat among the "Commons," poured out
his wine in vain. ]
I.
O wha will to Saint Stephen's house,
To do our errands there, man?
O wha will to Saint Stephen's house,
O' th' merry lads of Ayr, man?
Or will we send a man-o'-law?
Or will we send a sodger?
Or him wha led o'er Scotland a'
The meikle Ursa-Major?
II.
Come, will ye court a noble lord,
Or buy a score o' lairds, man?
For worth and honour pawn their word,
Their vote shall be Glencaird's, man?
Ane gies them coin, ane gies them wine,
Anither gies them clatter;
Anbank, wha guess'd the ladies' taste,
He gies a Fete Champetre.
III.
When Love and Beauty heard the news,
The gay green-woods amang, man;
Where gathering flowers and busking bowers,
They heard the blackbird's sang, man;
A vow, they seal'd it with a kiss,
Sir Politicks to fetter,
As theirs alone, the patent-bliss
To hold a Fete Champetre.
IV.
Then mounted Mirth, on gleesome wing,
O'er hill and dale she flew, man;
Ilk wimpling burn, ilk crystal spring,
Ilk glen and shaw she knew, man:
She summon'd every social sprite
That sports by wood or water,
On th' bonny banks of Ayr to meet,
And keep this Fete Champetre.
V.
Cauld Boreas, wi' his boisterous crew,
Were bound to stakes like kye, man;
And Cynthia's car, o' silver fu',
Clamb up the starry sky, man:
Reflected beams dwell in the streams,
Or down the current shatter;
The western breeze steals thro' the trees,
To view this Fete Champetre.
VI.
How many a robe sae gaily floats!
What sparkling jewels glance, man!
To Harmony's enchanting notes,
As moves the mazy dance, man.
The echoing wood, the winding flood,
Like Paradise did glitter,
When angels met, at Adam's yett,
To hold their Fete Champetre.
VII.
When Politics came there, to mix
And make his ether-stane, man!
He circled round the magic ground,
But entrance found he nane, man:
He blush'd for shame, he quat his name,
Forswore it, every letter,
Wi' humble prayer to join and share
This festive Fete Champetre.
* * * * *
CCXLIII.
HERE'S A HEALTH.
Tune--"_Here's a health to them that's awa. _"
[The Charlie of this song was Charles Fox; Tammie was Lord Erskine;
and M'Leod, the maiden name of the Countess of Loudon, was then, as
now, a name of influence both in the Highlands and Lowlands. The buff
and blue of the Whigs had triumphed over the white rose of Jacobitism
in the heart of Burns, when he wrote these verses. ]
I.
Here's a health to them that's awa,
Here's a health to them that's awa;
And wha winna wish guid luck to our cause,
May never guid luck be their fa'!
It's guid to be merry and wise,
It's guid to be honest and true,
It's good to support Caldonia's cause,
And bide by the buff and the blue.
II.
Here's a health to them that's awa,
Here's a health to them that's awa,
Here's a health to Charlie the chief of the clan,
Altho' that his band be sma'.
May liberty meet wi' success!
May prudence protect her frae evil!
May tyrants and tyranny tine in the mist,
And wander their way to the devil!
III.
Here's a health to them that's awa,
Here's a health to them that's awa;
Here's a health to Tammie, the Norland laddie,
That lives at the lug o' the law!
Here's freedom to him that wad read,
Here's freedom to him that wad write!
There's nane ever fear'd that the truth should be heard,
But they wham the truth wad indite.
IV.
Here's a health to them that's awa,
Here's a health to them that's awa,
Here's Chieftain M'Leod, a chieftain worth gowd,
Tho' bred amang mountains o' snaw!
Here's a health to them that's awa,
Here's a health to them that's awa;
And wha winna wish guid luck to our cause,
May never guid luck be their fa'!
* * * * *
CCXLIV.
IS THERE, FOR HONEST POVERTY.
Tune--"_For a' that, and a' that. _"
[In this noble lyric Burns has vindicated the natural right of his
species. He modestly says to Thomson, "I do not give you this song for
your book, but merely by way of _vive la bagatelle_; for the piece is
really not poetry, but will be allowed to be two or three pretty good
prose thoughts inverted into rhyme. " Thomson took the song, but
hazarded no praise. ]
I.
Is there, for honest poverty,
That hangs his head, and a' that?
The coward-slave, we pass him by,
We dare be poor for a' that!
For a' that, and a' that,
Our toils obscure, and a' that;
The rank is but the guinea's stamp,
The man's the gowd for a' that!
II.
What tho' on hamely fare we dine,
Wear hoddin gray, and a' that;
Gie fools their silks, and knaves their wine,
A man's a man, for a' that!
For a' that, and a' that,
Their tinsel show, and a' that;
The honest man, though e'er sae poor,
Is king o' men for a' that!
III.
Ye see yon birkie, ca'd--a lord,
Wha struts, and stares, and a' that;
Though hundreds worship at his word,
He's but a coof for a' that:
For a' that, and a' that,
His riband, star, and a' that,
The man of independent mind,
He looks and laughs at a' that.
IV.
A king can make a belted knight,
A marquis, duke, and a' that,
But an honest man's aboon his might,
Guid faith, he maunna fa' that!
For a' that, and a' that,
Their dignities, and a' that,
The pith o' sense, and pride o' worth,
Are higher ranks than a' that.
V.
Then let us pray that come it may--
As come it will for a' that--
That sense and worth, o'er a' the earth,
May bear the gree, and a' that;
For a' that, and a' that,
It's comin' yet for a' that,
That man to man, the warld o'er,
Shall brothers be for a' that!
* * * * *
CCXLV.
CRAIGIE-BURN WOOD.
[Craigie-burn Wood was written for George Thomson: the heroine was
Jean Lorimer. How often the blooming looks and elegant forms of very
indifferent characters lend a lasting lustre to painting and poetry. ]
I.
Sweet fa's the eve on Craigie-burn,
And blithe awakes the morrow;
But a' the pride o' spring's return
Can yield me nocht but sorrow.
II.
I see the flowers and spreading trees
I hear the wild birds singing;
But what a weary wight can please,
And care his bosom wringing?
III.
Fain, fain would I my griefs impart,
Yet dare na for your anger;
But secret love will break my heart,
If I conceal it langer.
IV.
If thou refuse to pity me,
If thou shall love anither,
When yon green leaves fade frae the tree,
Around my grave they'll wither.
* * * * *
CCXLVI.
O LASSIE, ART THOU SLEEPING YET.
Tune--"_Let me in this ae night. _"
[The thoughts of Burns, it is said, wandered to the fair Mrs. Riddel,
of Woodleigh Park, while he composed this song for Thomson. The idea
is taken from an old lyric, of more spirit than decorum. ]
I.
O Lassie, art thou sleeping yet,
Or art thou waking, I would wit?
For love has bound me hand and foot,
And I would fain be in, jo.
O let me in this ae night,
This ae, ae, ae night;
For pity's sake this ae night,
O rise and let me in, jo!
II.
Thou hear'st the winter wind and weet!
Nae star blinks thro' the driving sleet:
Tak pity on my weary feet,
And shield me frae the rain, jo.
III.
The bitter blast that round me blaws,
Unheeded howls, unheeded fa's;
The cauldness o' thy heart's the cause
Of a' my grief and pain, jo.
O let me in this ae night,
This ae, ae, ae night;
For pity's sake this ae night,
O rise and let me in, jo!
* * * * *
CCXLVII.
O TELL NA ME O' WIND AND RAIN.
[The poet's thoughts, as rendered in the lady's answer, are, at all
events, not borrowed from the sentiments expressed by Mrs. Riddel,
alluded to in song CCXXXVII. ; there she is tender and forgiving: here
she in stern and cold. ]
I.
O tell na me o' wind and rain,
Upbraid na me wi' cauld disdain!
Gae back the gate ye cam again,
I winna let you in, jo.
I tell you now this ae night,
This ae, ae, ae night,
And ance for a' this ae night,
I winna let you in, jo!
II.
The snellest blast, at mirkest hours,
That round the pathless wand'rer pours,
Is nocht to what poor she endures,
That's trusted faithless man, jo.
III.
The sweetest flower that deck'd the mead,
Now trodden like the vilest weed:
Let simple maid the lesson read,
The weird may be her ain, jo.
IV.
The bird that charm'd his summer-day,
Is now the cruel fowler's prey;
Let witless, trusting woman say
How aft her fate's the same, jo.
I tell you now this ae night,
This ae, ae, ae night;
And ance for a' this ae night,
I winna let you in jo!
* * * * *
CCXLVIII.
THE DUMFRIES VOLUNTEERS.
Tune--"_Push about the jorum. _"
[This national song was composed in April, 1795. The poet had been at
a public meeting, where he was less joyous than usual: as something
had been expected from him, he made these verses, when he went home,
and sent them, with his compliments, to Mr. Jackson, editor of the
Dumfries Journal. The original, through the kindness of my friend,
James Milligan, Esq. , is now before me. ]
I.
Does haughty Gaul invasion threat,
Then let the loons beware, Sir,
There's wooden walls upon our seas,
And volunteers on shore, Sir.
The Nith shall run to Corsincon,
And Criffel sink in Solway,
Ere we permit a foreign foe
On British ground to rally!
II.
O let us not, like snarling tykes,
In wrangling be divided;
Till slap come in an unco loon
And wi' a rung decide it.
Be Britain still to Britain true,
Amang oursels united;
For never but by British hands
Maun British wrangs be righted!
III.
The kettle o' the kirk and state,
Perhaps a clout may fail in't;
But deil a foreign tinkler loon
Shall ever ca' a nail in't.
Our fathers' bluid the kettle bought,
And wha wad dare to spoil it;
By heaven! the sacrilegious dog
Shall fuel be to boil it.
IV.
The wretch that wad a tyrant own,
And the wretch his true-born brother,
Who would set the mob aboon the throne,
May they be damned together!
Who will not sing, "God save the King,"
Shall hang as high's the steeple;
But while we sing, "God save the King,"
We'll ne'er forget the people.
* * * * *
CCXLIX.
ADDRESS TO THE WOOD-LARK.
Tune--"_Where'll bonnie Ann lie. _"
[The old song to the same air is yet remembered: but the humour is
richer than the delicacy; the same may be said of many of the fine
hearty lyrics of the elder days of Caledonia. These verses were
composed in May, 1795, for Thomson. ]
I.
O stay, sweet warbling woodlark, stay!
Nor quit for me the trembling spray;
A hapless lover courts thy lay,
Thy soothing fond complaining.
II.
Again, again that tender part,
That I may catch thy melting art;
For surely that would touch her heart,
Wha kills me wi' disdaining.
III.
Say, was thy little mate unkind,
And heard thee as the careless wind?
Oh, nocht but love and sorrow join'd,
Sic notes o' woe could wauken.
IV.
Thou tells o' never-ending care;
O' speechless grief and dark despair:
For pity's sake, sweet bird, nae mair!
Or my poor heart is broken!
* * * * *
CCL.
ON CHLORIS BEING ILL.
Tune--"_Ay wakin', O. _"
[An old and once popular lyric suggested this brief and happy song for
Thomson: some of the verses deserve to be held in remembrance.
Ay waking, oh,
Waking ay and weary;
Sleep I canna get
For thinking o' my dearie. ]
I.
Long, long the night,
Heavy comes the morrow,
While my soul's delight
Is on her bed of sorrow.
Can I cease to care?
Can I cease to languish?
While my darling fair
Is on the couch of anguish?
II.
Every hope is fled,
Every fear is terror;
Slumber even I dread,
Every dream is horror.
III.
Hear me, Pow'rs divine!
Oh, in pity hear me!
Take aught else of mine,
But my Chloris spare me!
Long, long the night,
Heavy comes the morrow,
While my soul's delight
Is on her bed of sorrow.
* * * * *
CCLI.
CALEDONIA.
Tune--"_Humours of Glen. _"
[Love of country often mingles in the lyric strains of Burns with his
personal attachments, and in few more beautifully than in the
following, written for Thomson the heroine was Mrs. Burns. ]
I.
Their groves o' sweet myrtle let foreign lands reckon,
Where bright-beaming summers exalt the perfume;
Far dearer to me yon lone glen o' green brockan,
Wi' the burn stealing under the lang yellow broom:
Far dearer to me are yon humble broom bowers,
Where the blue-bell and gowan lurk lowly unseen;
For there, lightly tripping amang the wild flowers,
A listening the linnet, aft wanders my Jean.
II.
Tho' rich is the breeze in their gay sunny valleys,
And cauld CALEDONIA'S blast on the wave;
Their sweet-scented woodlands that skirt the proud palace,
What are they? --The haunt of the tyrant and slave!
The slave's spicy forests, and gold-bubbling fountains,
The brave Caledonian views wi' disdain;
He wanders as free as the winds of his mountains,
Save love's willing fetters, the chains o' his Jean.
* * * * *
CCLII.
'TWAS NA HER BONNIE BLUE EEN.
Tune--"_Laddie, lie near me. _"
[Though the lady who inspired these verses is called Mary by the poet,
such, says tradition, was not her name: yet tradition, even in this,
wavers, when it avers one while that Mrs. Riddel, and at another time
that Jean Lorimer was the heroine. ]
I.
'Twas na her bonnie blue een was my ruin;
Fair tho' she be, that was ne'er my undoing:
'Twas the dear smile when naebody did mind us,
'Twas the bewitching, sweet stown glance o' kindness.
II.
Sair do I fear that to hope is denied me,
Sair do I fear that despair maun abide me!
But tho' fell fortune should fate us to sever,
Queen shall she be in my bosom for ever.
III.
Mary, I'm thine wi' a passion sincerest,
And thou hast plighted me love o' the dearest!
And thou'rt the angel that never can alter--
Sooner the sun in his motion would falter.
* * * * *
CCLIII.
HOW CRUEL ARE THE PARENTS.
Tune--"_John Anderson, my jo. _"
["I am at this moment," says Burns to Thomson, when he sent him this
song, "holding high converse with the Muses, and have not a word to
throw away on a prosaic dog, such as you are. " Yet there is less than
the poet's usual inspiration in this lyric, for it is altered from an
English one. ]
I.
How cruel are the parents
Who riches only prize,
And, to the wealthy booby,
Poor woman sacrifice!
Meanwhile the hapless daughter
Has but a choice of strife;
To shun a tyrant father's hate,
Become a wretched wife.
II.
The ravening hawk pursuing,
The trembling dove thus flies,
To shun impelling ruin
Awhile her pinions tries:
Till of escape despairing,
No shelter or retreat,
She trusts the ruthless falconer,
And drops beneath his feet!
* * * * *
CCLIV.
MARK YONDER POMP.
Tune--"_Deil tak the wars. _"
[Burns tells Thomson, in the letter enclosing this song, that he is in
a high fit of poetizing, provided he is not cured by the
strait-waistcoat of criticism. "You see," said he, "how I answer your
orders; your tailor could not be more punctual. " This strain in honour
of Chloris is original in conception, but wants the fine lyrical flow
of some of his other compositions. ]
I.
Mark yonder pomp of costly fashion
Round the wealthy, titled bride:
But when compar'd with real passion,
Poor is all that princely pride.
What are the showy treasures?
What are the noisy pleasures?
The gay gaudy glare of vanity and art:
The polish'd jewel's blaze
May draw the wond'ring gaze,
And courtly grandeur bright
The fancy may delight,
But never, never can come near the heart.
II.
But did you see my dearest Chloris
In simplicity's array;
Lovely as yonder sweet opening flower is,
Shrinking from the gaze of day;
O then the heart alarming,
And all resistless charming,
In Love's delightful fetters she chains the willing soul!
Ambition would disown
The world's imperial crown,
Even Avarice would deny
His worship'd deity,
And feel thro' every vein Love's raptures roll.
* * * * *
CCLV.
THIS IS NO MY AIN LASSIE.
Tune--"_This is no my ain house. _"
[Though composed to the order of Thomson, and therefore less likely to
be the offspring of unsolicited inspiration, this is one of the
happiest modern songs. When the poet wrote it, he seems to have been
beside the "fair dame at whose shrine," he said, "I, the priest of the
Nine, offer up the incense of Parnassus. "]
I.
O this is no my ain lassie,
Fair tho' the lassie be;
O weel ken I my ain lassie,
Kind love is in her e'e.
I see a form, I see a face,
Ye weel may wi' the fairest place:
It wants, to me, the witching grace,
The kind love that's in her e'e.
II.
She's bonnie, blooming, straight, and tall,
And lang has had my heart in thrall;
And ay it charms my very saul,
The kind love that's in her e'e.
III.
A thief sae pawkie is my Jean,
To steal a blink, by a' unseen;
But gleg as light are lovers' een,
When kind love is in the e'e.
IV.
It may escape the courtly sparks,
It may escape the learned clerks;
But weel the watching lover marks
The kind love that's in her e'e.
O this is no my ain lassie,
Fair tho' the lassie be;
O weel ken I my ain lassie,
Kind love is in her e'e.
* * * * *
CCLVI.
NOW SPRING HAS CLAD THE
GROVE IN GREEN.
TO MR. CUNNINGHAM.
[Composed in reference to a love disappointment of the poet's friend,
Alexander Cunningham, which also occasioned the song beginning,
"Had I a cave on some wild distant shore. "]
I.
Now spring has clad the grove in green,
And strew'd the lea wi' flowers:
The furrow'd waving corn is seen
Rejoice in fostering showers;
While ilka thing in nature join
Their sorrows to forego,
O why thus all alone are mine
The weary steps of woe?
II.
The trout within yon wimpling burn
Glides swift, a silver dart,
And safe beneath the shady thorn
Defies the angler's art:
My life was ance that careless stream,
That wanton trout was I;
But love, wi' unrelenting beam,
Has scorch'd my fountains dry.
III.
The little flow'ret's peaceful lot,
In yonder cliff that grows,
Which, save the linnet's flight, I wot,
Nae ruder visit knows,
Was mine; till love has o'er me past,
And blighted a' my bloom,
And now beneath the with'ring blast
My youth and joy consume.
IV.
The waken'd lav'rock warbling springs
And climbs the early sky,
Winnowing blythe her dewy wings
In morning's rosy eye;
As little reckt I sorrow's power,
Until the flow'ry snare
O' witching love, in luckless hour,
Made me the thrall o' care.
V.
O had my fate been Greenland snows,
Or Afric's burning zone,
Wi' man and nature leagu'd my foes,
So Peggy ne'er I'd known!
The wretch whase doom is, "hope nae mair. "
What tongue his woes can tell!
Within whase bosom, save despair,
Nae kinder spirits dwell.
* * * * *
CCLVII.
O BONNIE WAS YON ROSY BRIER.
[To Jean Lorimer, the heroine of this song, Burns presented a copy of
the last edition of his poems, that of 1793, with a dedicatory
inscription, in which he moralizes upon her youth, her beauty, and
steadfast friendship, and signs himself Coila. ]
I.
O Bonnie was yon rosy brier,
That blooms sae far frae haunt o' man,
And bonnie she, and ah, how dear!
It shaded frae the e'enin sun.
II.
Yon rosebuds in the morning dew
How pure, amang the leaves sae green:
But purer was the lover's vow
They witness'd in their shade yestreen.
III.
All in its rude and prickly bower,
That crimson rose, how sweet and fair!
But love is far a sweeter flower
Amid life's thorny path o' care.
IV.
The pathless wild, and wimpling burn,
Wi' Chloris in my arms, be mine;
And I the world, nor wish, nor scorn,
Its joys and griefs alike resign.
* * * * *
CCLVIII.
FORLORN, MY LOVE, NO COMFORT
NEAR.
Tune--"_Let me in this ae night. _"
["How do you like the foregoing? " Burns asks Thomson, after having
copies this song for his collection. "I have written it within this
hour: so much for the speed of my Pegasus: but what say you to his
bottom? "]
I.
Forlorn, my love, no comfort near,
Far, far from thee, I wander here;
Far, far from thee, the fate severe
At which I most repine, love.
O wert thou, love, but near me;
But near, near, near me;
How kindly thou wouldst cheer me,
And mingle sighs with mine, love
II.
Around me scowls a wintry sky,
That blasts each bud of hope and joy;
And shelter, shade, nor home have I,
Save in those arms of thine, love.
III.
Cold, alter'd friendship's cruel part,
To poison Fortune's ruthless dart,
Let me not break thy faithful heart,
And say that fate is mine, love.
IV.
But dreary tho' the moments fleet,
O let me think we yet shall meet!
That only ray of solace sweet
Can on thy Chloris shine, love.
O wert thou, love, but near me;
But near, near, near me;
How kindly thou wouldst cheer me,
And mingle sighs with mine, love.
* * * * *
CCLIX.
LAST MAY A BRAW WOOER.
Tune--"_The Lothian Lassie. _"
["Gateslack," says Burns to Thomson, "is the name of a particular
place, a kind of passage among the Lowther Hills, on the confines of
Dumfrieshire: Dalgarnock, is also the name of a romantic spot near the
Nith, where are still a ruined church and burial-ground. " To this, it
may be added that Dalgarnock kirk-yard is the scene where the author
of Waverley finds Old Mortality repairing the Cameronian
grave-stones. ]
I.
Last May a braw wooer cam down the lang glen,
And sair wi' his love he did deave me;
I said there was naething I hated like men,
The deuce gae wi'm, to believe, believe me,
The deuce gae wi'm, to believe me!
II.
He spak o' the darts in my bonnie black een,
And vow'd for my love, he was dying;
I said he might die when he liked for Jean,
The Lord forgie me for lying, for lying,
The Lord forgie me for lying!
III.
A weel-stocked mailen--himsel' for the laird--
And marriage aff-hand, were his proffers:
I never loot on that I kenn'd it, or car'd,
But thought I may hae waur offers, waur offers,
But thought I might hae waur offers.
IV.
But what wad ye think? In a fortnight or less--
The deil tak his taste to gae near her!
He up the Gateslack to my black cousin Bess,
Guess ye how, the jad! I could bear her, could bear her,
Guess ye how, the jad! I could bear her.
V.
But a' the niest week as I fretted wi' care,
I gaed to the tryste o' Dalgarnock,
And wha but my fine fickle lover was there!
I glowr'd as I'd seen a warlock, a warlock,
I glowr'd as I'd seen a warlock.
VI.
But owre my left shouther I gae him a blink,
Lest neebors might say I was saucy;
My wooer he caper'd as he'd been in drink,
And vow'd I was his dear lassie, dear lassie,
And vow'd I was his dear lassie.
VII.
I spier'd for my cousin fu' couthy and sweet,
Gin she had recovered her hearin',
And how my auld shoon suited her shauchled feet,
But, heavens! how he fell a swearin', a swearin',
But, heavens! how he fell a swearin'.
VIII.
He begged, for Gudesake, I wad be his wife,
Or else I wad kill him wi' sorrow;
So, e'en to preserve the poor body in life,
I think I maun wed him to-morrow, to-morrow,
I think I maun wed him to morrow.
* * * * *
CCLX.
CHLORIS.
Tune--"_Caledonian Hunt's Delight. _"
["I am at present," says Burns to Thomson, when he communicated these
verses, "quite occupied with the charming sensations of the toothache,
so have not a word to spare--such is the peculiarity of the rhythm of
this air, that I find it impossible to make another stanza to suit
it. " This is the last of his strains in honour of Chloris. ]
I.
Why, why tell thy lover,
Bliss he never must enjoy:
Why, why undeceive him,
And give all his hopes the lie?
II.
O why, while fancy raptured, slumbers,
Chloris, Chloris all the theme,
Why, why wouldst thou, cruel,
Wake thy lover from his dream?
* * * * *
CCLXI.
THE HIGHLAND WIDOW'S LAMENT.
[This song is said to be Burns's version of a Gaelic lament for the
ruin which followed the rebellion of the year 1745: he sent it to the
Museum. ]
I.
Oh! I am come to the low countrie,
Och-on, och-on, och-rie!
Without a penny in my purse,
To buy a meal to me.
II.
It was na sae in the Highland hills,
Och-on, och-on, och-rie!
Nae woman in the country wide
Sae happy was as me.
III.
For then I had a score o' kye,
Och-on, och-on, och-rie!
That fickle heart of thine, my Katy!
Thou may'st find those will love thee dear--
But not a love like mine, my Katy!
Canst thou leave me thus, my Katy?
Canst thou leave me thus, my Katy?
Well thou know'st my aching heart--
And canst thou leave me thus for pity?
* * * * *
CCXXXVIII.
MY NANNIE'S AWA.
Tune--"_There'll never be peace. _"
[Clarinda, tradition avers, was the inspirer of this song, which the
poet composed in December, 1794, for the work of Thomson. His thoughts
were often in Edinburgh: on festive occasions, when, as Campbell
beautifully says, "The wine-cup shines in light," he seldom forgot to
toast Mrs. Mac. ]
I.
Now in her green mantle blythe nature arrays,
And listens the lambkins that bleat o'er the braes,
While birds warble welcome in ilka green shaw;
But to me it's delightless--my Nannie's awa!
II.
The snaw-drap and primrose our woodlands adorn,
And violets bathe in the weet o' the morn;
They pain my sad bosom, sae sweetly they blaw,
They mind me o' Nannie--and Nanny's awa!
III.
Thou lav'rock that springs frae the dews of the lawn,
The shepherd to warn o' the gray-breaking dawn,
And thou mellow mavis that hails the night fa',
Give over for pity--my Nannie's awa!
IV.
Come autumn sae pensive, in yellow and gray,
And soothe me with tidings o' nature's decay:
The dark dreary winter, and wild driving snaw,
Alane can delight me--now Nannie's awa!
* * * * *
CCXXXIX.
O WHA IS SHE THAT LOVES ME.
Tune--"_Morag. _"
["This song," says Sir Harris Nicolas, "is said, in Thomson's
collection, to have been written for that work by Burns: but it is not
included in Mr. Cunningham's edition. " If sir Harris would be so good
as to look at page 245; vol. V. , of Cunningham's edition of Burns, he
will find the song; and if he will look at page 28, and page 193 of
vol. III. , of his own edition, he will find that he has not committed
the error of which he accuses his fellow-editor, for he has inserted
the same song twice. The same may be said of the song to Chloris,
which Sir Harris has printed at page 312, vol. II,. and at page 189,
vol. III. , and of "Ae day a braw wooer came down the lang glen," which
appears both at page 224 of vol. II. , and at page 183 of vol, III. ]
I.
O wha is she that lo'es me,
And has my heart a-keeping?
O sweet is she that lo'es me,
As dews of simmer weeping,
In tears the rosebuds steeping!
O that's the lassie of my heart,
My lassie ever dearer;
O that's the queen of womankind,
And ne'er a ane to peer her.
II.
If thou shalt meet a lassie
In grace and beauty charming,
That e'en thy chosen lassie,
Erewhile thy breast sae warming
Had ne'er sic powers alarming.
III.
If thou hadst heard her talking,
And thy attentions plighted,
That ilka body talking,
But her by thee is slighted,
And thou art all delighted.
IV.
If thou hast met this fair one;
When frae her thou hast parted,
If every other fair one,
But her, thou hast deserted,
And thou art broken-hearted;
O that's the lassie o' my heart,
My lassie ever dearer;
O that's the queen o' womankind,
And ne'er a ane to peer her.
* * * * *
CCXL.
CALEDONIA.
Tune--"_Caledonian Hunt's Delight. _"
[There is both knowledge of history and elegance of allegory in this
singular lyric: it was first printed by Currie. ]
I.
There was once a day--but old Time then was young--
That brave Caledonia, the chief of her line,
From some of your northern deities sprung,
(Who knows not that brave Caledonia's divine? )
From Tweed to the Orcades was her domain,
To hunt, or to pasture, or do what she would:
Her heav'nly relations there fixed her reign,
And pledg'd her their godheads to warrant it good.
II.
A lambkin in peace, but a lion in war,
The pride of her kindred the heroine grew;
Her grandsire, old Odin, triumphantly swore
"Whoe'er shall provoke thee, th' encounter shall rue! "
With tillage or pasture at times she would sport,
To feed her fair flocks by her green rustling corn;
But chiefly the woods were her fav'rite resort,
Her darling amusement, the hounds and the horn.
III.
Long quiet she reign'd; till thitherward steers
A flight of bold eagles from Adria's strand:
Repeated, successive, for many long years,
They darken'd the air, and they plunder'd the land:
Their pounces were murder, and terror their cry,
They'd conquer'd and ruin'd a world beside;
She took to her hills, and her arrows let fly--
The daring invaders they fled or they died.
IV.
The fell harpy-raven took wing from the north,
The scourge of the seas, and the dread of the shore;
The wild Scandinavian boar issu'd forth
To wanton in carnage, and wallow in gore;
O'er countries and kingdoms their fury prevail'd,
No arts could appease them, no arms could repel;
But brave Caledonia in vain they assail'd,
As Largs well can witness, and Loncartie tell.
V.
The Cameleon-savage disturbed her repose,
With tumult, disquiet, rebellion, and strife;
Provok'd beyond bearing, at last she arose,
And robb'd him at once of his hope and his life:
The Anglian lion, the terror of France,
Oft prowling, ensanguin'd the Tweed's silver flood:
But, taught by the bright Caledonian lance,
He learned to fear in his own native wood.
VI.
Thus bold, independent, unconquer'd, and free,
Her bright course of glory for ever shall run:
For brave Caledonia immortal must be;
I'll prove it from Euclid as clear as the sun:
Rectangle-triangle, the figure we'll choose,
The upright is Chance, and old Time is the base;
But brave Caledonia's the hypothenuse;
Then ergo, she'll match them, and match them always.
* * * * *
CCXLI.
O LAY THY LOOF IN MINE, LASS.
Tune--"_Cordwainer's March. _"
[The air to which these verses were written, is commonly played at the
Saturnalia of the shoemakers on King Crispin's day. Burns sent it to
the Museum. ]
I.
O lay thy loof in mine, lass,
In mine, lass, in mine, lass;
And swear on thy white hand, lass,
That thou wilt be my ain.
A slave to love's unbounded sway,
He aft has wrought me meikle wae;
But now he is my deadly fae,
Unless thou be my ain.
II.
There's monie a lass has broke my rest,
That for a blink I hae lo'ed best;
But thou art queen within my breast,
For ever to remain.
O lay thy loof in mine, lass,
In mine, lass, in mine, lass;
And swear on thy white hand, lass,
That thou wilt be my ain.
* * * * *
CCXLII.
THE FETE CHAMPETRE.
Tune--"_Killiecrankie. _"
[Written to introduce the name of Cunninghame, of Enterkin, to the
public. Tents were erected on the banks of Ayr, decorated with shrubs,
and strewn with flowers, most of the names of note in the district
were invited, and a splendid entertainment took place; but no
dissolution of parliament followed as was expected, and the Lord of
Enterkin, who was desirous of a seat among the "Commons," poured out
his wine in vain. ]
I.
O wha will to Saint Stephen's house,
To do our errands there, man?
O wha will to Saint Stephen's house,
O' th' merry lads of Ayr, man?
Or will we send a man-o'-law?
Or will we send a sodger?
Or him wha led o'er Scotland a'
The meikle Ursa-Major?
II.
Come, will ye court a noble lord,
Or buy a score o' lairds, man?
For worth and honour pawn their word,
Their vote shall be Glencaird's, man?
Ane gies them coin, ane gies them wine,
Anither gies them clatter;
Anbank, wha guess'd the ladies' taste,
He gies a Fete Champetre.
III.
When Love and Beauty heard the news,
The gay green-woods amang, man;
Where gathering flowers and busking bowers,
They heard the blackbird's sang, man;
A vow, they seal'd it with a kiss,
Sir Politicks to fetter,
As theirs alone, the patent-bliss
To hold a Fete Champetre.
IV.
Then mounted Mirth, on gleesome wing,
O'er hill and dale she flew, man;
Ilk wimpling burn, ilk crystal spring,
Ilk glen and shaw she knew, man:
She summon'd every social sprite
That sports by wood or water,
On th' bonny banks of Ayr to meet,
And keep this Fete Champetre.
V.
Cauld Boreas, wi' his boisterous crew,
Were bound to stakes like kye, man;
And Cynthia's car, o' silver fu',
Clamb up the starry sky, man:
Reflected beams dwell in the streams,
Or down the current shatter;
The western breeze steals thro' the trees,
To view this Fete Champetre.
VI.
How many a robe sae gaily floats!
What sparkling jewels glance, man!
To Harmony's enchanting notes,
As moves the mazy dance, man.
The echoing wood, the winding flood,
Like Paradise did glitter,
When angels met, at Adam's yett,
To hold their Fete Champetre.
VII.
When Politics came there, to mix
And make his ether-stane, man!
He circled round the magic ground,
But entrance found he nane, man:
He blush'd for shame, he quat his name,
Forswore it, every letter,
Wi' humble prayer to join and share
This festive Fete Champetre.
* * * * *
CCXLIII.
HERE'S A HEALTH.
Tune--"_Here's a health to them that's awa. _"
[The Charlie of this song was Charles Fox; Tammie was Lord Erskine;
and M'Leod, the maiden name of the Countess of Loudon, was then, as
now, a name of influence both in the Highlands and Lowlands. The buff
and blue of the Whigs had triumphed over the white rose of Jacobitism
in the heart of Burns, when he wrote these verses. ]
I.
Here's a health to them that's awa,
Here's a health to them that's awa;
And wha winna wish guid luck to our cause,
May never guid luck be their fa'!
It's guid to be merry and wise,
It's guid to be honest and true,
It's good to support Caldonia's cause,
And bide by the buff and the blue.
II.
Here's a health to them that's awa,
Here's a health to them that's awa,
Here's a health to Charlie the chief of the clan,
Altho' that his band be sma'.
May liberty meet wi' success!
May prudence protect her frae evil!
May tyrants and tyranny tine in the mist,
And wander their way to the devil!
III.
Here's a health to them that's awa,
Here's a health to them that's awa;
Here's a health to Tammie, the Norland laddie,
That lives at the lug o' the law!
Here's freedom to him that wad read,
Here's freedom to him that wad write!
There's nane ever fear'd that the truth should be heard,
But they wham the truth wad indite.
IV.
Here's a health to them that's awa,
Here's a health to them that's awa,
Here's Chieftain M'Leod, a chieftain worth gowd,
Tho' bred amang mountains o' snaw!
Here's a health to them that's awa,
Here's a health to them that's awa;
And wha winna wish guid luck to our cause,
May never guid luck be their fa'!
* * * * *
CCXLIV.
IS THERE, FOR HONEST POVERTY.
Tune--"_For a' that, and a' that. _"
[In this noble lyric Burns has vindicated the natural right of his
species. He modestly says to Thomson, "I do not give you this song for
your book, but merely by way of _vive la bagatelle_; for the piece is
really not poetry, but will be allowed to be two or three pretty good
prose thoughts inverted into rhyme. " Thomson took the song, but
hazarded no praise. ]
I.
Is there, for honest poverty,
That hangs his head, and a' that?
The coward-slave, we pass him by,
We dare be poor for a' that!
For a' that, and a' that,
Our toils obscure, and a' that;
The rank is but the guinea's stamp,
The man's the gowd for a' that!
II.
What tho' on hamely fare we dine,
Wear hoddin gray, and a' that;
Gie fools their silks, and knaves their wine,
A man's a man, for a' that!
For a' that, and a' that,
Their tinsel show, and a' that;
The honest man, though e'er sae poor,
Is king o' men for a' that!
III.
Ye see yon birkie, ca'd--a lord,
Wha struts, and stares, and a' that;
Though hundreds worship at his word,
He's but a coof for a' that:
For a' that, and a' that,
His riband, star, and a' that,
The man of independent mind,
He looks and laughs at a' that.
IV.
A king can make a belted knight,
A marquis, duke, and a' that,
But an honest man's aboon his might,
Guid faith, he maunna fa' that!
For a' that, and a' that,
Their dignities, and a' that,
The pith o' sense, and pride o' worth,
Are higher ranks than a' that.
V.
Then let us pray that come it may--
As come it will for a' that--
That sense and worth, o'er a' the earth,
May bear the gree, and a' that;
For a' that, and a' that,
It's comin' yet for a' that,
That man to man, the warld o'er,
Shall brothers be for a' that!
* * * * *
CCXLV.
CRAIGIE-BURN WOOD.
[Craigie-burn Wood was written for George Thomson: the heroine was
Jean Lorimer. How often the blooming looks and elegant forms of very
indifferent characters lend a lasting lustre to painting and poetry. ]
I.
Sweet fa's the eve on Craigie-burn,
And blithe awakes the morrow;
But a' the pride o' spring's return
Can yield me nocht but sorrow.
II.
I see the flowers and spreading trees
I hear the wild birds singing;
But what a weary wight can please,
And care his bosom wringing?
III.
Fain, fain would I my griefs impart,
Yet dare na for your anger;
But secret love will break my heart,
If I conceal it langer.
IV.
If thou refuse to pity me,
If thou shall love anither,
When yon green leaves fade frae the tree,
Around my grave they'll wither.
* * * * *
CCXLVI.
O LASSIE, ART THOU SLEEPING YET.
Tune--"_Let me in this ae night. _"
[The thoughts of Burns, it is said, wandered to the fair Mrs. Riddel,
of Woodleigh Park, while he composed this song for Thomson. The idea
is taken from an old lyric, of more spirit than decorum. ]
I.
O Lassie, art thou sleeping yet,
Or art thou waking, I would wit?
For love has bound me hand and foot,
And I would fain be in, jo.
O let me in this ae night,
This ae, ae, ae night;
For pity's sake this ae night,
O rise and let me in, jo!
II.
Thou hear'st the winter wind and weet!
Nae star blinks thro' the driving sleet:
Tak pity on my weary feet,
And shield me frae the rain, jo.
III.
The bitter blast that round me blaws,
Unheeded howls, unheeded fa's;
The cauldness o' thy heart's the cause
Of a' my grief and pain, jo.
O let me in this ae night,
This ae, ae, ae night;
For pity's sake this ae night,
O rise and let me in, jo!
* * * * *
CCXLVII.
O TELL NA ME O' WIND AND RAIN.
[The poet's thoughts, as rendered in the lady's answer, are, at all
events, not borrowed from the sentiments expressed by Mrs. Riddel,
alluded to in song CCXXXVII. ; there she is tender and forgiving: here
she in stern and cold. ]
I.
O tell na me o' wind and rain,
Upbraid na me wi' cauld disdain!
Gae back the gate ye cam again,
I winna let you in, jo.
I tell you now this ae night,
This ae, ae, ae night,
And ance for a' this ae night,
I winna let you in, jo!
II.
The snellest blast, at mirkest hours,
That round the pathless wand'rer pours,
Is nocht to what poor she endures,
That's trusted faithless man, jo.
III.
The sweetest flower that deck'd the mead,
Now trodden like the vilest weed:
Let simple maid the lesson read,
The weird may be her ain, jo.
IV.
The bird that charm'd his summer-day,
Is now the cruel fowler's prey;
Let witless, trusting woman say
How aft her fate's the same, jo.
I tell you now this ae night,
This ae, ae, ae night;
And ance for a' this ae night,
I winna let you in jo!
* * * * *
CCXLVIII.
THE DUMFRIES VOLUNTEERS.
Tune--"_Push about the jorum. _"
[This national song was composed in April, 1795. The poet had been at
a public meeting, where he was less joyous than usual: as something
had been expected from him, he made these verses, when he went home,
and sent them, with his compliments, to Mr. Jackson, editor of the
Dumfries Journal. The original, through the kindness of my friend,
James Milligan, Esq. , is now before me. ]
I.
Does haughty Gaul invasion threat,
Then let the loons beware, Sir,
There's wooden walls upon our seas,
And volunteers on shore, Sir.
The Nith shall run to Corsincon,
And Criffel sink in Solway,
Ere we permit a foreign foe
On British ground to rally!
II.
O let us not, like snarling tykes,
In wrangling be divided;
Till slap come in an unco loon
And wi' a rung decide it.
Be Britain still to Britain true,
Amang oursels united;
For never but by British hands
Maun British wrangs be righted!
III.
The kettle o' the kirk and state,
Perhaps a clout may fail in't;
But deil a foreign tinkler loon
Shall ever ca' a nail in't.
Our fathers' bluid the kettle bought,
And wha wad dare to spoil it;
By heaven! the sacrilegious dog
Shall fuel be to boil it.
IV.
The wretch that wad a tyrant own,
And the wretch his true-born brother,
Who would set the mob aboon the throne,
May they be damned together!
Who will not sing, "God save the King,"
Shall hang as high's the steeple;
But while we sing, "God save the King,"
We'll ne'er forget the people.
* * * * *
CCXLIX.
ADDRESS TO THE WOOD-LARK.
Tune--"_Where'll bonnie Ann lie. _"
[The old song to the same air is yet remembered: but the humour is
richer than the delicacy; the same may be said of many of the fine
hearty lyrics of the elder days of Caledonia. These verses were
composed in May, 1795, for Thomson. ]
I.
O stay, sweet warbling woodlark, stay!
Nor quit for me the trembling spray;
A hapless lover courts thy lay,
Thy soothing fond complaining.
II.
Again, again that tender part,
That I may catch thy melting art;
For surely that would touch her heart,
Wha kills me wi' disdaining.
III.
Say, was thy little mate unkind,
And heard thee as the careless wind?
Oh, nocht but love and sorrow join'd,
Sic notes o' woe could wauken.
IV.
Thou tells o' never-ending care;
O' speechless grief and dark despair:
For pity's sake, sweet bird, nae mair!
Or my poor heart is broken!
* * * * *
CCL.
ON CHLORIS BEING ILL.
Tune--"_Ay wakin', O. _"
[An old and once popular lyric suggested this brief and happy song for
Thomson: some of the verses deserve to be held in remembrance.
Ay waking, oh,
Waking ay and weary;
Sleep I canna get
For thinking o' my dearie. ]
I.
Long, long the night,
Heavy comes the morrow,
While my soul's delight
Is on her bed of sorrow.
Can I cease to care?
Can I cease to languish?
While my darling fair
Is on the couch of anguish?
II.
Every hope is fled,
Every fear is terror;
Slumber even I dread,
Every dream is horror.
III.
Hear me, Pow'rs divine!
Oh, in pity hear me!
Take aught else of mine,
But my Chloris spare me!
Long, long the night,
Heavy comes the morrow,
While my soul's delight
Is on her bed of sorrow.
* * * * *
CCLI.
CALEDONIA.
Tune--"_Humours of Glen. _"
[Love of country often mingles in the lyric strains of Burns with his
personal attachments, and in few more beautifully than in the
following, written for Thomson the heroine was Mrs. Burns. ]
I.
Their groves o' sweet myrtle let foreign lands reckon,
Where bright-beaming summers exalt the perfume;
Far dearer to me yon lone glen o' green brockan,
Wi' the burn stealing under the lang yellow broom:
Far dearer to me are yon humble broom bowers,
Where the blue-bell and gowan lurk lowly unseen;
For there, lightly tripping amang the wild flowers,
A listening the linnet, aft wanders my Jean.
II.
Tho' rich is the breeze in their gay sunny valleys,
And cauld CALEDONIA'S blast on the wave;
Their sweet-scented woodlands that skirt the proud palace,
What are they? --The haunt of the tyrant and slave!
The slave's spicy forests, and gold-bubbling fountains,
The brave Caledonian views wi' disdain;
He wanders as free as the winds of his mountains,
Save love's willing fetters, the chains o' his Jean.
* * * * *
CCLII.
'TWAS NA HER BONNIE BLUE EEN.
Tune--"_Laddie, lie near me. _"
[Though the lady who inspired these verses is called Mary by the poet,
such, says tradition, was not her name: yet tradition, even in this,
wavers, when it avers one while that Mrs. Riddel, and at another time
that Jean Lorimer was the heroine. ]
I.
'Twas na her bonnie blue een was my ruin;
Fair tho' she be, that was ne'er my undoing:
'Twas the dear smile when naebody did mind us,
'Twas the bewitching, sweet stown glance o' kindness.
II.
Sair do I fear that to hope is denied me,
Sair do I fear that despair maun abide me!
But tho' fell fortune should fate us to sever,
Queen shall she be in my bosom for ever.
III.
Mary, I'm thine wi' a passion sincerest,
And thou hast plighted me love o' the dearest!
And thou'rt the angel that never can alter--
Sooner the sun in his motion would falter.
* * * * *
CCLIII.
HOW CRUEL ARE THE PARENTS.
Tune--"_John Anderson, my jo. _"
["I am at this moment," says Burns to Thomson, when he sent him this
song, "holding high converse with the Muses, and have not a word to
throw away on a prosaic dog, such as you are. " Yet there is less than
the poet's usual inspiration in this lyric, for it is altered from an
English one. ]
I.
How cruel are the parents
Who riches only prize,
And, to the wealthy booby,
Poor woman sacrifice!
Meanwhile the hapless daughter
Has but a choice of strife;
To shun a tyrant father's hate,
Become a wretched wife.
II.
The ravening hawk pursuing,
The trembling dove thus flies,
To shun impelling ruin
Awhile her pinions tries:
Till of escape despairing,
No shelter or retreat,
She trusts the ruthless falconer,
And drops beneath his feet!
* * * * *
CCLIV.
MARK YONDER POMP.
Tune--"_Deil tak the wars. _"
[Burns tells Thomson, in the letter enclosing this song, that he is in
a high fit of poetizing, provided he is not cured by the
strait-waistcoat of criticism. "You see," said he, "how I answer your
orders; your tailor could not be more punctual. " This strain in honour
of Chloris is original in conception, but wants the fine lyrical flow
of some of his other compositions. ]
I.
Mark yonder pomp of costly fashion
Round the wealthy, titled bride:
But when compar'd with real passion,
Poor is all that princely pride.
What are the showy treasures?
What are the noisy pleasures?
The gay gaudy glare of vanity and art:
The polish'd jewel's blaze
May draw the wond'ring gaze,
And courtly grandeur bright
The fancy may delight,
But never, never can come near the heart.
II.
But did you see my dearest Chloris
In simplicity's array;
Lovely as yonder sweet opening flower is,
Shrinking from the gaze of day;
O then the heart alarming,
And all resistless charming,
In Love's delightful fetters she chains the willing soul!
Ambition would disown
The world's imperial crown,
Even Avarice would deny
His worship'd deity,
And feel thro' every vein Love's raptures roll.
* * * * *
CCLV.
THIS IS NO MY AIN LASSIE.
Tune--"_This is no my ain house. _"
[Though composed to the order of Thomson, and therefore less likely to
be the offspring of unsolicited inspiration, this is one of the
happiest modern songs. When the poet wrote it, he seems to have been
beside the "fair dame at whose shrine," he said, "I, the priest of the
Nine, offer up the incense of Parnassus. "]
I.
O this is no my ain lassie,
Fair tho' the lassie be;
O weel ken I my ain lassie,
Kind love is in her e'e.
I see a form, I see a face,
Ye weel may wi' the fairest place:
It wants, to me, the witching grace,
The kind love that's in her e'e.
II.
She's bonnie, blooming, straight, and tall,
And lang has had my heart in thrall;
And ay it charms my very saul,
The kind love that's in her e'e.
III.
A thief sae pawkie is my Jean,
To steal a blink, by a' unseen;
But gleg as light are lovers' een,
When kind love is in the e'e.
IV.
It may escape the courtly sparks,
It may escape the learned clerks;
But weel the watching lover marks
The kind love that's in her e'e.
O this is no my ain lassie,
Fair tho' the lassie be;
O weel ken I my ain lassie,
Kind love is in her e'e.
* * * * *
CCLVI.
NOW SPRING HAS CLAD THE
GROVE IN GREEN.
TO MR. CUNNINGHAM.
[Composed in reference to a love disappointment of the poet's friend,
Alexander Cunningham, which also occasioned the song beginning,
"Had I a cave on some wild distant shore. "]
I.
Now spring has clad the grove in green,
And strew'd the lea wi' flowers:
The furrow'd waving corn is seen
Rejoice in fostering showers;
While ilka thing in nature join
Their sorrows to forego,
O why thus all alone are mine
The weary steps of woe?
II.
The trout within yon wimpling burn
Glides swift, a silver dart,
And safe beneath the shady thorn
Defies the angler's art:
My life was ance that careless stream,
That wanton trout was I;
But love, wi' unrelenting beam,
Has scorch'd my fountains dry.
III.
The little flow'ret's peaceful lot,
In yonder cliff that grows,
Which, save the linnet's flight, I wot,
Nae ruder visit knows,
Was mine; till love has o'er me past,
And blighted a' my bloom,
And now beneath the with'ring blast
My youth and joy consume.
IV.
The waken'd lav'rock warbling springs
And climbs the early sky,
Winnowing blythe her dewy wings
In morning's rosy eye;
As little reckt I sorrow's power,
Until the flow'ry snare
O' witching love, in luckless hour,
Made me the thrall o' care.
V.
O had my fate been Greenland snows,
Or Afric's burning zone,
Wi' man and nature leagu'd my foes,
So Peggy ne'er I'd known!
The wretch whase doom is, "hope nae mair. "
What tongue his woes can tell!
Within whase bosom, save despair,
Nae kinder spirits dwell.
* * * * *
CCLVII.
O BONNIE WAS YON ROSY BRIER.
[To Jean Lorimer, the heroine of this song, Burns presented a copy of
the last edition of his poems, that of 1793, with a dedicatory
inscription, in which he moralizes upon her youth, her beauty, and
steadfast friendship, and signs himself Coila. ]
I.
O Bonnie was yon rosy brier,
That blooms sae far frae haunt o' man,
And bonnie she, and ah, how dear!
It shaded frae the e'enin sun.
II.
Yon rosebuds in the morning dew
How pure, amang the leaves sae green:
But purer was the lover's vow
They witness'd in their shade yestreen.
III.
All in its rude and prickly bower,
That crimson rose, how sweet and fair!
But love is far a sweeter flower
Amid life's thorny path o' care.
IV.
The pathless wild, and wimpling burn,
Wi' Chloris in my arms, be mine;
And I the world, nor wish, nor scorn,
Its joys and griefs alike resign.
* * * * *
CCLVIII.
FORLORN, MY LOVE, NO COMFORT
NEAR.
Tune--"_Let me in this ae night. _"
["How do you like the foregoing? " Burns asks Thomson, after having
copies this song for his collection. "I have written it within this
hour: so much for the speed of my Pegasus: but what say you to his
bottom? "]
I.
Forlorn, my love, no comfort near,
Far, far from thee, I wander here;
Far, far from thee, the fate severe
At which I most repine, love.
O wert thou, love, but near me;
But near, near, near me;
How kindly thou wouldst cheer me,
And mingle sighs with mine, love
II.
Around me scowls a wintry sky,
That blasts each bud of hope and joy;
And shelter, shade, nor home have I,
Save in those arms of thine, love.
III.
Cold, alter'd friendship's cruel part,
To poison Fortune's ruthless dart,
Let me not break thy faithful heart,
And say that fate is mine, love.
IV.
But dreary tho' the moments fleet,
O let me think we yet shall meet!
That only ray of solace sweet
Can on thy Chloris shine, love.
O wert thou, love, but near me;
But near, near, near me;
How kindly thou wouldst cheer me,
And mingle sighs with mine, love.
* * * * *
CCLIX.
LAST MAY A BRAW WOOER.
Tune--"_The Lothian Lassie. _"
["Gateslack," says Burns to Thomson, "is the name of a particular
place, a kind of passage among the Lowther Hills, on the confines of
Dumfrieshire: Dalgarnock, is also the name of a romantic spot near the
Nith, where are still a ruined church and burial-ground. " To this, it
may be added that Dalgarnock kirk-yard is the scene where the author
of Waverley finds Old Mortality repairing the Cameronian
grave-stones. ]
I.
Last May a braw wooer cam down the lang glen,
And sair wi' his love he did deave me;
I said there was naething I hated like men,
The deuce gae wi'm, to believe, believe me,
The deuce gae wi'm, to believe me!
II.
He spak o' the darts in my bonnie black een,
And vow'd for my love, he was dying;
I said he might die when he liked for Jean,
The Lord forgie me for lying, for lying,
The Lord forgie me for lying!
III.
A weel-stocked mailen--himsel' for the laird--
And marriage aff-hand, were his proffers:
I never loot on that I kenn'd it, or car'd,
But thought I may hae waur offers, waur offers,
But thought I might hae waur offers.
IV.
But what wad ye think? In a fortnight or less--
The deil tak his taste to gae near her!
He up the Gateslack to my black cousin Bess,
Guess ye how, the jad! I could bear her, could bear her,
Guess ye how, the jad! I could bear her.
V.
But a' the niest week as I fretted wi' care,
I gaed to the tryste o' Dalgarnock,
And wha but my fine fickle lover was there!
I glowr'd as I'd seen a warlock, a warlock,
I glowr'd as I'd seen a warlock.
VI.
But owre my left shouther I gae him a blink,
Lest neebors might say I was saucy;
My wooer he caper'd as he'd been in drink,
And vow'd I was his dear lassie, dear lassie,
And vow'd I was his dear lassie.
VII.
I spier'd for my cousin fu' couthy and sweet,
Gin she had recovered her hearin',
And how my auld shoon suited her shauchled feet,
But, heavens! how he fell a swearin', a swearin',
But, heavens! how he fell a swearin'.
VIII.
He begged, for Gudesake, I wad be his wife,
Or else I wad kill him wi' sorrow;
So, e'en to preserve the poor body in life,
I think I maun wed him to-morrow, to-morrow,
I think I maun wed him to morrow.
* * * * *
CCLX.
CHLORIS.
Tune--"_Caledonian Hunt's Delight. _"
["I am at present," says Burns to Thomson, when he communicated these
verses, "quite occupied with the charming sensations of the toothache,
so have not a word to spare--such is the peculiarity of the rhythm of
this air, that I find it impossible to make another stanza to suit
it. " This is the last of his strains in honour of Chloris. ]
I.
Why, why tell thy lover,
Bliss he never must enjoy:
Why, why undeceive him,
And give all his hopes the lie?
II.
O why, while fancy raptured, slumbers,
Chloris, Chloris all the theme,
Why, why wouldst thou, cruel,
Wake thy lover from his dream?
* * * * *
CCLXI.
THE HIGHLAND WIDOW'S LAMENT.
[This song is said to be Burns's version of a Gaelic lament for the
ruin which followed the rebellion of the year 1745: he sent it to the
Museum. ]
I.
Oh! I am come to the low countrie,
Och-on, och-on, och-rie!
Without a penny in my purse,
To buy a meal to me.
II.
It was na sae in the Highland hills,
Och-on, och-on, och-rie!
Nae woman in the country wide
Sae happy was as me.
III.
For then I had a score o' kye,
Och-on, och-on, och-rie!
